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You can skip movies 10 times but never go back.
A police detective falls in love with the woman whose murder he's investigating.
The perfect noir comedy of desire, an erotic refraction played in dapper proximity to Hitchcock (what’s taken from Rebecca is passed on to Vertigo). The famous opening introduces aristocratic Manhattan as a perfumed glass cabinet, a whip pan followed without pause by a dolly-in reveals Waldo Lydecker (Clifton Webb) in his bathroom soaking like Marat, venomous typewriter suspended above a marble bathtub. Queenly aesthete and viperish columnist ("sentiment comes easy at 50 cents a word"), he finds a Galatea in Laura (Gene Tierney) and helps her ascend from Madison Ave. go-getter to shimmering socialite. A disfigured corpse brings out the blue-collar detective (Dana Andrews) and the shady bourgeoisie: a sponging playboy (Vincent Price), the "lean, strong body" easily toppled, and…
Blown away. I can't believe that this movie exists and that I hadn't seen it until now and that it achieves as much perfection as it does in under 90 minutes. This is absolutely essential viewing for any fans of film noir and particularly for anyone interested in the femme fatale as a symbolic cinematic figure. It's also the first time I've really been bowled over like this since I discovered and fell in love with The Conformist back in May. Anyway:
"My mother always listened sympathetically to my dreams of a career. Men taught me another recipe."
Laura (Gene Tierney) is dead. Shot in the face with a shotgun. Detective McPherson (Dana Andrews) is on the case, and he's…
Part of my War Years Challenge
Ah, film noir. If you are a fan, this film is a pure delight, winner of the Oscar for Best Cinematography, Black & White and nominated for four additional Academy Awards, including Best Screenplay and Art Direction. Otto Preminger was shortlisted for the Best Director Oscar, while Clifton Webb was named among the nominees for Best Supporting Actor. It's a case study in the making a masterful monochromatic mystery.
Dana Andrews plays police detective Lieutenant Mark McPherson, assigned to investigate the shotgun murder of advertising executive Laura Hunt (Gene Tierney). She was apparently killed in her apartment on a Friday night, and over the weekend her friend Ann Treadwell (Judith Anderson) identifies the faceless body,…
A mystery film noir directed by Otto Preminger firing on all cylinders. The nights are pitch black, the weather is restless and the brightly lit interiors are filled with cigarette smoke, antique furniture and walking old-fashioned costumes. The atmosphere is stylishly conveyed and acutely perceived. The black and white cinematography is beautifully stark, the camera is moving smoothly, the dissolves are seamless. The sweeping, grandiose and dramatic score gives such weight to unfolding scenes. The dialogue is smart and very well written, excellently punctuated by the cast, part of which are Dana Andrews as the experienced and determined detective and Gene Tierney as the beautiful, attractive and fascinating titular character.
The mystery surrounding the murder is expertly constructed, allowing for…
An incredible film about male projection. LAURA initially plays into the cliché that tends to type all movies that start with the focal character dead, wherein the viewer gets to feel like that person is an active, driving character for the force they continue to exert on the living. But in this case, when Laura is revealed to be alive, her actual presence throws everything that came before into disarray, revealing that image driving the story to be nothing more than the idealized visions of different men in love with her. I've been wanting to watch this movie for years (it spent a solid year near and at the top of my Netflix queue but the disc was always rented out), but never knew anything about it. Imagine my surprise to get not only a great noir an incredibly ahead-of-its-time reflection on noir's pedestal problem.
Otto Preminger's "Laura" is an engaging murder mystery whose gender politics help it make compelling social commentary. That commentary never bubbles clearly to the top, however, creating an interesting subtext beneath the noir tropes at work in Preminger's gripping and satisfying drama.
Dana Andrews stars as a detective investigating the murder of Gene Tierney's Laura. Laura, the object of affection of two different men, soon becomes the object the detective's affection as well; though, he only knows her through her portrait and the stories told by those who knew her. The narrative moves down a twisty path, revealing truths that make the story memorable.
Under the front-and-center detective tale, lurks the story of a woman who lives, perhaps even dies,…
I saw this movie years ago and all I remember is that it was good and the very ending scene. idk why it stayed with me but it did
I liked the whodunnit. I like Vincent Price sans his pencil stache and horror movie persona. I liked how the detective seemed to know how to get the info he wanted while being lied to half the movie. Well written.
I shall never forget the weekend Laura died. A silver sun burned through the sky like a huge magnifying glass. It was the hottest Sunday in my recollection.
Gene Tierney is a goddess.
A Nice Guy noir.
This is a difficult film to talk about without discussing the ending, where most of the interesting stuff happens. Before that, what we get is a tight, but fairly standard whodunit with a decent amount of excellent zingers from one particular character. There's an early twist around the middle that causes a slight gear change, but still nothing particularly extraordinary happens until the exciting finale. There's some interesting visual direction every now and then, mostly serving to add tension to the character interactions and to both foreshadow and obscure various elements of the central mystery. Also here, the most imaginative sequence happens towards the end, where tilted camera angles, a couple of well timed pans, zooms…
- i love the way this movie starts: a detective questioning suspects becomes a posse of suspects questioning suspects, without devolving into a mob. but the movie is too smart and quick to keep that format, and the narrative form shifts as its core mystery does too.
More an iron grey than inky black, there isn't a lot of smoke and filth to revel in here, which is what makes a lot of noir films so fun, but there's enough here to keep the film moving briskly and entertainingly for its entire runtime. Some interesting characters, including a fascinating take on the femme fatale, and you gotta love the homicidal homosexual, especially with such a fun camp performance from Clifton Webb.
Not a staple of the genre, but a good entry nonetheless.
A twisted murder mystery with some wicked one-liners.
If you're feeling overwhelmed, but still want to squeeze a film into your daily routine, this list is made for…
innovative means of cinematic meditation and,
thus, freshly developed processes of perception.
inspired by Michelle Arf's 'New Ideas for Film'…